In 2017, the global recorded music market grew by 8.1%. This was the third consecu- tive year of global growth and one of the highest rates of growth since IFPI began tracking the market in 1997. Revenues increased in most markets and in eight of the global top 10 markets.
Lloyd Mathias, MTV Music Inc. June 12, 2018Lloyd Mathias
Sharing my keynote at the MTV Music Inc. event in Mumbai, bringing together the Indian Music Industry, Performing Artistes, Brand Owners, earlier this week.
In 2017, the global recorded music market grew by 8.1%. This was the third consecu- tive year of global growth and one of the highest rates of growth since IFPI began tracking the market in 1997. Revenues increased in most markets and in eight of the global top 10 markets.
Lloyd Mathias, MTV Music Inc. June 12, 2018Lloyd Mathias
Sharing my keynote at the MTV Music Inc. event in Mumbai, bringing together the Indian Music Industry, Performing Artistes, Brand Owners, earlier this week.
Sony husic Entertainment and theEvolution of the Music Indu.docxwhitneyleman54422
Sony h/usic Entertainment and the
Evolution of the Music Industry
A. J. Strickland
The Ilniversitg of Alabama
Andrew Pharaoh
2015 Undergraduate,
The Universitg of Alabama
d d A t such a pivotal time for music, it's more
ffi imRortant than ever to develop a fertile,d \ creative environment that generates the
highest quality of artists and music, while seeking to
fully exploit the many opportunities that new digital
services and products provide in reaching audiences
around the world."r
The remarks of Sony Music Entertainment CEO
Doug Morris in 2011 illustrated an accurate under-
standing of the environment of music sales. Morris,
a globally influential executive and music innovator,
agreed to join Sony Music Entertainment as chief
executive officer effective July 1, 201l. In a time of
great change in the music marketplace, it was abso-
lutely necessary that Sony take active steps to remain
competitive. Morris took the job graciously, but he
placed himself into a business whose margins were
becoming thinner and thinner. With a declining
industry that had been made less lucrative by the
wide availability of substitutes, Morris was forced to
develop a strategy to contend with industry change
and unfavorable competitive forces in 2014.
F"$$ST#ffiV #ffi S#NY f'1U$$*
ffiNTKreT&!Iq P--$ffiNY
American Record Company, the company that would
laterbecome Sony Music Entertainment, was founded
in 1929 and then acquired by Columbia Broadcasting
Company in 1938. In March 1968, Sony, at that rime
Seth Kennedg
2014 Llndergraduate,
The Universitg of Alabama
a Japanese company, began a joint venture with the
American company CBS to form CBS/Sony Records
Inc. In September 1976, Sony introduced the optical
digital audio disc, now known as the compact disc
(CD). In 1983, CBS Inc., as an American company,
allowed introduction of the CD to American markets.
In January 1988, CBS Records Inc. was absorbed,
and in January 1991, the new company was renamed
Sony Music Entertainment Inc.
In August 2004, Sony BMG Music Entertain-
ment was established as a new joint venture with Ber-
telsmann AG. Later, in August 2008, Sony acquired
BMG's 50 percent stake in Sony Music Entertain-
ment and began operation once again as Sony Music
Entertainment, a wholly owned subsidiary of Sony
Corporation. In July 2012, Sony/AIV Music Publish-
ing, a joint venture between Sony and the Michael
Jackson Family Trust, along with a consortium of
other investment firms, bought the publishing arm of
the EMI Group, which solidified Sony's position as
the world's largest music publisher.
#VffiRV!HW ffiT THffi ML,}$$T
il N,EM M$TruV
Before the 1900s, music and entertainment media had
a strong emphasis on performance. If theater, magic,
or music was wanted in a certain venue, individuals
Copyright O 2014 by A. J. Strickland. All rights reserved.
who could perform the arl personally were found and
paid to do so. At the beginning of the 20th century,
music began to become ownership-driven. .
Digitalization has completely changed how music is composed, transmitted, preserved, heard, and performed. The overwhelming majority of music today is digital music since they exist in electronic form. Digital music along with other digital content is the driver for the global technology markets. As technology advances, so do the means for marketing and promoting of anything and everything. The music industry is no exception. It is now apparent that the digital production, distribution, and consumption of music is inevitable. However, while the digital music market is booming, it has been observed that there is no sustainable future for the music artists or for technology companies. The pressure consumers have placed on the music industry is enormous. This paper provides an introduction on digital music. Matthew N. O. Sadiku | Uwakwe C. Chukwu | Abayomi Ajayi-Majebi | Sarhan M. Musa "Essentials of Digital Music" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-6 , October 2022, URL: https://www.ijtsrd.com/papers/ijtsrd51906.pdf Paper URL: https://www.ijtsrd.com/computer-science/other/51906/essentials-of-digital-music/matthew-n-o-sadiku
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Sony husic Entertainment and theEvolution of the Music Indu.docxwhitneyleman54422
Sony h/usic Entertainment and the
Evolution of the Music Industry
A. J. Strickland
The Ilniversitg of Alabama
Andrew Pharaoh
2015 Undergraduate,
The Universitg of Alabama
d d A t such a pivotal time for music, it's more
ffi imRortant than ever to develop a fertile,d \ creative environment that generates the
highest quality of artists and music, while seeking to
fully exploit the many opportunities that new digital
services and products provide in reaching audiences
around the world."r
The remarks of Sony Music Entertainment CEO
Doug Morris in 2011 illustrated an accurate under-
standing of the environment of music sales. Morris,
a globally influential executive and music innovator,
agreed to join Sony Music Entertainment as chief
executive officer effective July 1, 201l. In a time of
great change in the music marketplace, it was abso-
lutely necessary that Sony take active steps to remain
competitive. Morris took the job graciously, but he
placed himself into a business whose margins were
becoming thinner and thinner. With a declining
industry that had been made less lucrative by the
wide availability of substitutes, Morris was forced to
develop a strategy to contend with industry change
and unfavorable competitive forces in 2014.
F"$$ST#ffiV #ffi S#NY f'1U$$*
ffiNTKreT&!Iq P--$ffiNY
American Record Company, the company that would
laterbecome Sony Music Entertainment, was founded
in 1929 and then acquired by Columbia Broadcasting
Company in 1938. In March 1968, Sony, at that rime
Seth Kennedg
2014 Llndergraduate,
The Universitg of Alabama
a Japanese company, began a joint venture with the
American company CBS to form CBS/Sony Records
Inc. In September 1976, Sony introduced the optical
digital audio disc, now known as the compact disc
(CD). In 1983, CBS Inc., as an American company,
allowed introduction of the CD to American markets.
In January 1988, CBS Records Inc. was absorbed,
and in January 1991, the new company was renamed
Sony Music Entertainment Inc.
In August 2004, Sony BMG Music Entertain-
ment was established as a new joint venture with Ber-
telsmann AG. Later, in August 2008, Sony acquired
BMG's 50 percent stake in Sony Music Entertain-
ment and began operation once again as Sony Music
Entertainment, a wholly owned subsidiary of Sony
Corporation. In July 2012, Sony/AIV Music Publish-
ing, a joint venture between Sony and the Michael
Jackson Family Trust, along with a consortium of
other investment firms, bought the publishing arm of
the EMI Group, which solidified Sony's position as
the world's largest music publisher.
#VffiRV!HW ffiT THffi ML,}$$T
il N,EM M$TruV
Before the 1900s, music and entertainment media had
a strong emphasis on performance. If theater, magic,
or music was wanted in a certain venue, individuals
Copyright O 2014 by A. J. Strickland. All rights reserved.
who could perform the arl personally were found and
paid to do so. At the beginning of the 20th century,
music began to become ownership-driven. .
Digitalization has completely changed how music is composed, transmitted, preserved, heard, and performed. The overwhelming majority of music today is digital music since they exist in electronic form. Digital music along with other digital content is the driver for the global technology markets. As technology advances, so do the means for marketing and promoting of anything and everything. The music industry is no exception. It is now apparent that the digital production, distribution, and consumption of music is inevitable. However, while the digital music market is booming, it has been observed that there is no sustainable future for the music artists or for technology companies. The pressure consumers have placed on the music industry is enormous. This paper provides an introduction on digital music. Matthew N. O. Sadiku | Uwakwe C. Chukwu | Abayomi Ajayi-Majebi | Sarhan M. Musa "Essentials of Digital Music" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-6 , October 2022, URL: https://www.ijtsrd.com/papers/ijtsrd51906.pdf Paper URL: https://www.ijtsrd.com/computer-science/other/51906/essentials-of-digital-music/matthew-n-o-sadiku
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2. Evolution And Impact of Music Videos in The Digital Age
• This time of year, always makes me think of Michael Jackson’s ‘Thriller’ music video, which is perfect given
the upcoming Halloween holiday. The song, released in 1983, has become a standard in the horror genre
and is widely regarded as a commercial and critical triumph. Music fans still vividly remember everything
from Michael Jackson’s red outfit to the dancing zombies, even 35 years later. This is a perfect example of
the beauty that can happen when music and pictures come together. It’s little surprise that the video editing
company won every award there was to win and that it still often ranks high on lists of the best music videos
of all time. The thriller takes us back to an era when music and narrative went hand in hand.
• The visual representation of songs grew to equal the significance of the music itself. Numerous iconic songs
are remembered for their outstanding music, themes, and choreography, such as Lady Gaga’s Bad Romance,
Beyonce’s Single Ladies, Aerosmith’s Cryin’, and Peter Gabriel’s Sledgehammer. Music videos play a
significant role in the music business, and the stories they depict are more diverse and complex. Let us go
back in time and figure out when, why, and how music videos came.
3. The Digital Music Industry Is Expanding
• At the turn of the century, the music business went to tremendous pains to combat internet piracy. Still, they
could have created novel models for lawful online distribution more proactively. There were a few shaky
efforts by large record labels at the time. Still, the primary concern in creating these services was ensuring
they would not cannibalize the labels’ current income sources while providing a boost. One of the majors’
objectives was met by ensuring that the emerging services would not threaten traditional brick-and-mortar
commerce. However, the benefits could not compete with anything, particularly illegal online file-sharing
services.
• Apple Computer (at the time) was not a music industry participant, but it was the first to successfully build
an internet service for the legal selling and distribution of music. In 2003, Apple convinced the big record
companies that customers would pay for legal music downloads if provided with a simple video editing
agency service.
4. The History of Music Promotion
• Radio play, physical distribution, and live performances were formerly significant pillars of the music
industry’s promotional strategy. However, as digital channels have emerged, the old music industry
landscape has been upended, necessitating a shift in promotional techniques from both artists and record
companies.
• The Value of Analysing Data
• When it comes to maximizing the effectiveness of music marketing and catering to the tastes of the target
demographic, data analytics has emerged as a crucial instrument. Artists and record labels may better direct
their marketing efforts toward their ideal audience by mining data for actionable insights. There is no
shortage of examples demonstrating the efficacy of campaigns driven by data analysis.
• Audience preferences may be better understood using data analytics, which examines demographics,
interests, and consumption habits. It informs creative decision-making and marketing tactics by revealing
musical, demographic, and geographical patterns. To learn more, click here. Data-driven outsource video
editing methods may successfully target niche markets by narrowing down specific musical subgenres,
demographic groups, or regions. Tailoring messages to individual users improve engagement and helps make
the most of available resources.
5. Preparing for the Future by Tracing the Past of Music
• Recognizing our past is a prerequisite to planning our future. From 1947 until the mid-1960s, when cassette
tapes took over, vinyl records were the de facto music playback medium of choice. Big band music gave way
to rock & roll and Motown as the younger generation’s preferred musical genres during this time of musical
innovation. Labels engaged session musicians and composers to create music for various popular acts.
• Moving forward to the late 1970s, CDs were introduced into the recording business. Discmans, which
resembled records but were significantly smaller, replaced Walkmans as the next big thing in portable media
players. Music retailers were crucial to the success of record companies in this period. They set up various
stations so customers could hear samples of the music they were buying before making a final decision.
• Top 40 tunes from many musical genres were regularly broadcast on the radio. Finding new music or
performers that were not often played on the radio required digging through record stores, reading
magazine journalist reviews, and talking to friends about what they were listening to. A lot has changed in
the music industry since the mid-1990s, including the rise of streaming services.
6. Preparing for the Future by Tracing the Past of Music
• The launch of Napster in 1999 was a watershed moment in the history of people’s ability to discover new
music. Napster was a P2P network that enabled users to download, distribute, and burn music files onto
blank CDs, despite the advent of online audio streaming a few years earlier. Early streaming services’ primary
flaw was that they did little to safeguard artists’ copyright or generate cash for them. Revenue dropped
below $15 billion in 2013, according to IFPI figures, which is down by more than half from a little over a
decade ago. After the introduction of Apple iTunes in 2003 and subsequent developments in online music
technologies like Pandora and Spotify, consumers have the ocean legally download and listen to versions of
their favorite songs.
7. The Art of Collaborative Creativity
• K-pop band BTS, Taylor Swift, and Adele have videos with record-breaking 24-hour viewership numbers.
Over 327 million people have seen BTS’s Fake Love after it gained over 35 million views in only 24 hours. The
current count of Americans is 327,162. Therefore, passing up such a fantastic promotional chance would not
be brilliant. Brands should be used in videos sparingly and only when they provide value. And that can only
occur if the artists put more stock in their names than in the money they get from sponsorships.
• Because making video editing services is so expensive, some up-and-coming musicians like Ella Mai
appreciate the additional revenue from brand placements. However, there are famous artists like Beyonce
that promote products and services openly. Her ‘Formation’ song referenced the Red Lobster seafood
business, which resulted in a 33 percent boost in the company’s revenue. With the ability to explore, be
creative, and provide an interactive experience, technology leaves no place for poor storytelling.
8. Conclusion
• These partnerships have reached new heights with smart technology that enables syndications between
businesses and celebrities. Today’s video-enabled solutions at Motion Edits are completing the loop on
blocks by bringing brand endorsements from promotions to the add-to-cart page.